CONTENTSCONGRATULATIONS
TO . . ., 3 LIVE EVENTS Veddy British Music
(Kraft) <> Going Into 'Understated Drive' (Kroll), 6 DOTTED NOTES from … Kraft, Kroll, Greenfest, Hickey, BLC, 16 SPEAKING OUT! Thoughts on the Pulitzer Prize, 17 AN INTERVIEW WITH … David Holzman, 19 THE PRINTED WORD Berger's Reflections (Kraft), 20 THE SCOREBOARD Sperry's Encores (Drogin), 21 RECORDINGSMini but Not Mousy
(Cleary) <> Bell's Echoes of Bela (Cleary) <> Just a Few Will Do (Cleary),
22 RECENT RELEASES, 24 THE PUZZLE CORNER, 25 COMPOSER INDEX, 27 BULLETIN BOARD, 27
WEB SUPPLEMENTA John Adams biography and an interview LIVE EVENTS Boston
Modern Orchestra Project CD REVIEWS Angel
Shadows: Laurel Ann Maurer |
Review of CD VIOLA AOTEAROA; TIMOTHY DEIGHTON—VIOLA ATOLL ACD 202 Found here is a wide-ranging overview of recent music featuring viola written by New Zealand composers, presented by a formidably talented fellow countryman currently based on the string faculty at Penn State. Violist Timothy Deighton gives all these selections excellently; focused intonation, sure-footed digital technique, a nicely controlled bow arm, and a full, well-centered tone are hallmarks of his playing. The major must-hear on this CD is Anthony Watson’s splendid Sonata for Solo Viola (1969). There’s nothing here to suggest clear derivation from standard sonata models—in fact, one might think on cursory glance at the movement labels that a suite designation would be more appropriate. But there’s sufficient substance and seriousness of purpose that the title makes sense. The first and third movements, both brief recitatives, contrast profoundly, being by turns big and showy, then soft and tender. Sandwiched in between is a sawing, nihilist, almost ugly scherzo of gripping intensity. Taken together, these three initial entities provide a surprisingly suitable counterweight to the sizable finale, an angular dance shot through with howling glissando swoops that drops clear hints to music of preceding movements just before coming to a close. The harmonic language is serial with somewhat tonal leanings emanating from Bartok’s oeuvre—and sounds strikingly individual. Judging from this powerful work (and others, such as the three string quartets), its composer’s tragic death in 1973 at age 39—a suicide following personal and career setbacks placed within the context of alcoholism—was a terrible loss to his country’s emerging new music scene. Pacific Rock (n.d.) for solo viola by Martin Lodge, with its busy, brawny perpetuum mobile gestures interlarded with sliding figures, clearly demonstrates the influence of Watson’s composition—going so far as to quote a snippet from the aforementioned work near the end. The center of this brief entry, with its intentionally cramped range and microtonal bends, is meant to evoke traditional Maori singing. It’s a good, concise listen. Anthony Ritchie’s Viola Concerto (1994), tonal though often not triadic in sound (usually employing pandiatonic techniques), betrays the influence of many predecessors: Bartok and Stravinsky in the pervasive ostinato use, jazz (particularly in the often Gershwin-like finale), and film scores. Its lovely, yearning slow movement, cast in a clearly delineated ternary format, is irresistible. Of the three duos presented, Recitative II (n.d.) for viola and percussion by Leonie Holmes proves the most memorable. It too contains a lot of ostinato writing, though the influence often heard here is that of Copland and Bernstein, especially in the bouncy syncopations of the outer sections of this single movement piece. The slow, atmospheric center of the work is fetching. Douglas Lilburn’s Three Songs for Baritone and Viola (1958) is the product of a highly accomplished tonemeister whose music speaks with a confident voice. That being said, the jocular second movement unfortunately doesn’t quite measure up to its brooding neighbors, being rhythmically rather square and a little too short to provide adequate overall balance. The brief Duo Capriccio (n.d.) by Martin Risley provides intensely furious material for its violin and viola pairing. Like the Ritchie, Lodge, and Holmes selections, it also relies heavily on pattern figures—too much so, sorry to report. The piece tends to get caught up obsessively in the opening ostinato idea without imparting sufficient directionality or inflection. Deighton’s fellow performers are mainly of good caliber. Baritone Paul Whelan, percussionist Dan C. Armstrong, and the Penn’s Woods Festival Orchestra (led by Grant Cooper) all provide excellent contributions. Violinist Risley unfortunately struggles a bit; his playing sometimes puts forth a scratchy tone and shaky intonation. Sound and production values are first-rate. Much recommended, especially for the Watson Sonata which appears not to be otherwise available on disc. --David Cleary |